{"id":35447,"date":"2012-07-20T12:00:24","date_gmt":"2012-07-20T16:00:24","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=35447"},"modified":"2012-07-20T14:18:13","modified_gmt":"2012-07-20T18:18:13","slug":"high-fashion-arabian-nights-and-field-mice","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2012\/07\/20\/high-fashion-arabian-nights-and-field-mice\/","title":{"rendered":"What We\u2019re Loving: High Fashion, Arabian Nights, and Field Mice"},"content":{"rendered":"
\"\"<\/a>

Image via Synchrodogs<\/p><\/div>\n

The genre of the 1,002nd<\/small><\/sup> night is one few storytellers can resist. Poe wrote one, so did R. L. Stevenson, Jospeh Roth, and Naghuib Mahfouz. Some of these sequels are orientalist camp; the better ones concentrate on\u00a0The Nights<\/em>\u2019 true drama: that of a woman talking to save her life. I\u2019ve been reading an advanced copy of\u00a0Tales of a Severed Head<\/a><\/em>, a collection of poems by the Moroccan poet Rachida Madani. Her Scheherazade, a voice that Madina breaks into many different voices, angrily laments the history of modern Morocco and particularly the fate of its leftist intellectuals. It is as much a critique of the legend as a continuation of it. Madina\u2019s poet is even willing, at times, to stop talking:<\/p>\n

\n

She is silent so she can breathe
in the empty cannons
lift and weigh the sacks of gunpowder
and take aim.<\/p>\n<\/blockquote>\n

Marilyn Hacker\u2019s translation from French is scrupulous and lively. \u2014Robyn Creswell<\/strong><\/p>\n

<\/p>\n

I had a young friend over the other day and was moved to find the well-worn copy of Brambly Hedge<\/em><\/a> I\u2019ve carried everywhere since it was given to me circa Christmas \u201989. Jill Barklem\u2019s intricately rendered watercolor illustrations of a bucolic world of English mice living in a hedgerow have, it seems, lost none of their magic for the under-eight set, and, reading them aloud, I was charmed anew. \u2014Sadie Stein<\/strong><\/p>\n

The music of Little Feat, especially that which predates the death of their front man Lowell George in 1978, is ageless. Songs like \u201cChina White<\/a>\u201d and \u201cSpanish Moon<\/a>\u201d still sound as fresh as pressed linen. This may have a lot to do with the size and diversity of their impressively varied repertoire. But what really sets this group apart was the quality of their live performances. The live versions of songs like \u201cDixie Chicken<\/a>\u201d and \u201cOh Atlanta<\/a>\u201d were quite literally orchestral. Luckily for those of us who didn’t happen to make it to venues like Ebbet\u2019s Field in 1975, a very impressive collection of the live recordings<\/a> has been preserved. The Rock ‘n’ Roll Doctor\u2019s advice<\/a> may not be the key to perpetual youth, but it sounds as though it is. \u2014Arthur Holland Michel<\/strong><\/p>\n

If you\u2019re underwhelmed by the rehashed imagery dominating fashion photography, not to fear: exciting fashion photography still exists.\u00a0Check out Synchrodogs<\/a>, a Ukrainian male and female duo whose sparse, sensual images combine frankness with restraint.\u00a0Their photographs are beautiful, but with harsh lighting and imbalanced compositions, they have just enough friction\u2014along with a subtle psychological undertow\u2014to remain evocative.\u2014Alyssa Loh<\/strong><\/p>\n

At first listen, Ravel\u2019s\u00a0Menuet antique<\/a><\/em>, a solo for piano, is merely pretty and poised. The German critic H. H. Stuckenschmidt found \u201cvisions of gentle Arcadian sunshine\u201d in this piece\u2014one of Ravel\u2019s earliest works\u2014and I don\u2019t disagree. It is upon subsequent listenings that the piece unfolds in all its simple glory: six minutes of pure craft, depth free of despair. One of the best ways I know for keeping the demons at bay. \u2014Anna Hadfield<\/strong><\/p>\n

Adam Shatz\u2019s letter from Alexandria is one of the smartest pieces <\/a>I\u2019ve yet read on Egypt\u2019s revolution (which begins to look less and less revolutionary). \u2014R. C.<\/strong><\/p>\n

[tweetbutton]<\/p>\n

[facebook_ilike]<\/p>\n","protected":false},"excerpt":{"rendered":"

The genre of the 1,002nd night is one few storytellers can resist. Poe wrote one, so did R. L. Stevenson, Jospeh Roth, and Naghuib Mahfouz. Some of these sequels are orientalist camp; the better ones concentrate on\u00a0The Nights\u2019 true drama: that of a woman talking to save her life. I\u2019ve been reading an advanced copy […]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[438],"tags":[8191,17,8190,1773,8194,8189,8188,165,8192,8193,8145],"class_list":["post-35447","post","type-post","status-publish","format-standard","hentry","category-this-weeks-reading","tag-adam-shatz","tag-books","tag-brambly-hedge","tag-egypt","tag-h-h-stuckenschmidt","tag-jill-barklem","tag-little-feat","tag-poetry","tag-rachida-madani","tag-ravel","tag-the-arabian-nights"],"acf":[],"yoast_head":"\nWhat We\u2019re Loving: High Fashion, Arabian Nights, and Field Mice by The Paris Review<\/title>\n<meta name=\"description\" content=\"July 20, 2012 \u2013 The genre of the 1,002nd night is one few storytellers can resist. Poe wrote one, so did R. L. Stevenson, Jospeh Roth, and Naghuib Mahfouz. 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